Society for Music Theory New Research Paradigms Author(s): John Rahn Source: Music Theory Spectrum, Vol. 11, No. 1, Special Issue: The Society for Music Theory: The First Decade (Spring, 1989), pp. 84-94 Published by: University of California Press on behalf of the Society for Music Theory Stable URL: http://www.jstor.org/stable/745953 Accessed: 25/02/2010 15:03 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. 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University of California Press and Society for Music Theory are collaborating with JSTOR to digitize, preserve and extend access to Music Theory Spectrum. http://www.jstor.org New Research Paradigms John Rahn Since ThomasKuhn'sbook TheStructureof ScientificRevolutionshas appeared,the communityof historiansand philosophersof science, and by extension the communitiesof intellectuals in many fields, have been strongly influenced by the paradigmof paradigm,in the contextof a kindof discontinuous marchof science. Music theory, as a science of an art, differs fundamentallyfrom the sciences Kuhn refers to. "Taken as a group or in groups," Kuhn says, "practitionersof the developed sciences are ... fundamentally puzzle-solvers."' While we music theoristsdo value puzzle-solvingabilityin our "normal science," we equally value superiormusicality,the ability to communicatepersuasiveaesthetic insights. In a naturalscience such as physics,whose subjectmatteritself is not a human art or its products, aesthetic considerationsdo come into play when one theory is, as a theory, judged more beautifulor elegant than another.While musictheory sharesthis kind of criterion for judging theories, its subject matter is itself aesthetic. As I have arguedelsewhere, the musictheoristshouldgive primary attention not to the beauty of the theory, nor to the beauty of the model of music within the theory, but to the beautyof the music as modeled in the theory.2 That our subject is aesthetic does not make us any less sus1ThomasKuhn, TheStructureof ScientificRevolutions(Chicago:University of ChicagoPress, 1962;2d ed., 1970), 205. 2Seebibliographicentriesfor John Rahn ("Some ComputationalModels" and "Theoriesfor Some Ars Antiqua Motets"). ceptible to attractive new paradigms which might combine beauty of theory, model, and music as modeled. The word "theory"derivesfromthe Greek verb "theoreo,"whichmeans "to see," a connection with perception that is emphasizedby Kuhn. When a new exemplaris so persuasivethat it remakes our musical world, so that we see things differently, a major "paradigmshift"is said to have occurred. Among the historicallyrecent candidates for such major revolutionsin music theory there are, of course, two on which we can all agree:the theoriesof HeinrichSchenker,and the rebirthin the 1950s of the intimateand significantconnectionof music theory with mathematics, a renaissancedue largely to Milton Babbitt. In each case, the new paradigmwas resisted initiallyby normal music theory, but subsequentlyconverted the communityso as to legitimize, withinthe scope of the new paradigm,the kind of esoteric, productive,puzzle-solvingactivity characteristicof normal science. Minor revolutions are also possible within a subdiscipline,so that there is a spectrum alongthe revolutionarydimension.Some new ideashave richer consequences,and more radicallyrefigureour world, thanothers. I need not remindyou how Schenker'stheories have differentiated into subspecieswith the introductionof new subparadigmaticworks within his tradition or reacting to it, such as those of Komar, Westergaard, Boretz, Yeston, Narmour, Rahn, Benjamin, Lerdahland Jackendoff,Forte and Gilbert, Keiler, Deliege, and others; nor how serial theory and pitch- New ResearchParadigms 85 class theory in the Babbittianand the Fortean traditionshave prospered.David Lewin'srecent book GeneralizedMusicalIntervalsand Transformationsis a candidatefor a new paradigm within the Babbittian tradition, emphasizing applicationsof group theory and networks and focusing a number of earlier works by Lewin and an internationalrange of other authors.3 The emphasis on networks and graphs, in particular,is both new and of great promise. What new major paradigmsmay be currently emerging? They might emerge from the interactionof music theory with other disciplines.Bo Alphonce has surveyedcomputerapplications to music theory in this forum, and Mary Louise Serafine and Wayne Slawson have discussedlinguistics,acoustics, psychoacoustics, and psychology. Linguisticshas had a powerful influencein the past, and cognitive psychologyseems likely to concern music theory (and vice versa) in the future, especially as regardsthe issue of the scientificationof the study of music. But before looking at a selection of the remainingrelevantdisciplines, such as philosophy of science, formalmethods, social philosophy, ethnomusicology, semiology, literary criticism, phenomenology, and hermeneutics, we really should treat a new paradigmgenerated from withinmusic theory, one which has evoked both the widespread support and the widespread resistancetypical of a new major paradigm,one which is perceived by establishedtheory as a threatnot only to the content of music theory but to its very mode of discourse. This is the Boretz/Randall/Barkinparadigm. The exemplarsof this paradigmare the installmentsof J. K. Randall's"ComposeYourself,"4as well as his "a Soundscroll" - and "how music goes," and his " - -"; also, BenjaminBoretz's "WhatLingersOn (,When the Song is Ended)," "Language, as a Music," and "If I am a musical thinker";and various pieces by Elaine Barkin. Each of these 3See also the reviews of Lewin by Rahn and Dan Vuza. 4See entries for J. K. Randall ("Compose Yourself," "Act II Scene 1," "LanguageLab," "Revelstoke," and "Lovejoy"). primaryauthorshas a flavorof his or her own, and a secondary literaturehas been generated.5There are affinitieswith the verbal productions of other composers, such as Stefan Wolpe, John Cage, and Kenneth Gaburo.6 In a previous essay called "Aspects of Musical Explanation," I discussedthe earliermiddle-periodRandalland Boretz in the context of a model of musicalexplanationin four quasidimensions: analog/digital, in-time/time-out, top-down/ bottom-up, and theory of experience/theoryof piece. At that time the Boretz/Randallparadigmwas characterizablein these terms as tending to the analog (in Nelson Goodman's sense), the in-time, the bottom-up, and the theory-of-experienceextremaas explanationof music. So as not to recapitulatethatdiscussion, let me here concentrateon a work subsequentto that essay, Boretz's "Language,as a Music,"as an exampleof a theoreticalratherthan analyticalwork of this sort. "Language,as a Music" is a sextuptichof sections entitled Thesis, Argument, Spec Sheet, Red Hook, Ivy, and Epilogue. Each section is in a different mode of discourse:Thesis is an expository poem, Argument is a reference to a score, Spec Sheet is expositoryprose in a Joyceanmanner,Red Hook is in archaicNew York City street talk, Ivy is in a style that you would recognize, and Epilogue returnsto a more concentrated versionof the poetic style of the Thesis. Anyone who has labored to polish an articleto a high gloss will realizethat here is the logical extensionof that concern,the articleas work of art in itself. Boretz wishes to heal the potentially demusicalizingbreach between style of discourse about music, and music as a style of discourse.As he explainsin Ivy, I have been thinkingthat ... while we may not speak as we perceive, we willsoonenoughbe perceivingas we havespoken.Fortherheto5See entries for Marion Guck, Allen Hibbard, Sarah Johnson, and ThomasLarson. 6Seeentries for Stefan Wolpe, Austin Clarkson,John Cage, and Kenneth Gaburo. 86 MusicTheorySpectrum ricof discourseis coerciveon oursenses,asis anymodeof description or thought: descriptiontransformsthe described. . . . And if we so influencethe perceptionsandawarenessof othersby howwe speak descriptively, by the sameroutewe mustbe even moreprofoundly influencingour own.7 By this argument,there is no "neutral"mode of discourse. All discourse is "committed"to forming the world that it is about, so that it behooves the musician to make discourse about music like music, at least in the essential qualityor rich particularity,and perhaps in all five of Nelson Goodman's "symptomsof the aesthetic,"as enumeratedin Waysof Worldmaking:semanticdensity, syntacticaldensity, relativerepleteness, exemplification,and multipleand complexreference. Boretz'sposition is consonantwith positionsin a numberof other fields: in philosophy of science, the impossibilityof devoiding theory from observation, exemplifiedvariouslyin the demiseof Carnapian"protocolsentences," and (for physics)in the Heisenberg Uncertainty Principle;in history of science, Kuhn'sthesis of the influenceof theory on perception, and his construalof a disciplineas a "languagecommunity";in Quine's philosophy,the problemof radicaltranslation;in ethnomusicology, Seeger's sensitive treatmentof the issue; in hermeneutics, Gadamer'swhole bent rather to constructa style of discourse than a set of rules; in phenomenology, the intentional union of noema and noesis. If discourse about music be art, then musictheoristsmustbe artists.It is here thatnormalscientific discourse,which carriesits own clear-cutstandardsof acceptability,and within which any sufficientlyassiduouspractitioner may make an incremental contribution, exerts its attractionsto the contrary.It will be interestingto see how the Boretz/Randall/Barkinparadigmsurvivesits birthtrauma,and where it will, after runningundergroundhere and there, pop up and bloom. Most recently,both Boretz and Randallhave moved on to a concernwith the social and culturalenvironmentfor art. Ran7BenjaminBoretz, "Language,as a Music," 174. dall's"Are You Serious?"exploresthe ticklishissues of popular culture, art, sincerity, and micro-societal support structures; Boretz, in a series of two articles, explores the relation between artand audience.8Boretz andRandallare not alone in these concerns, joining a number of authors in what will, I think, be an increasinglysignificantarea. Doug Collinshas reviewed contemporaryFrenchsocial philosophizingabout music in the article"RitualSacrificeand the PoliticalEconomy of Music";other articlesinclude Boulez and Foucault on "ContemporaryMusic and the Public";Eric Gans on "Art and Entertainment";MalcolmGoldsteinon "The Politicsof Improvisation"; George Rochberg on "Can the Arts Survive Modernism?"and JonathanKrameron "CanModernismSurvive George Rochberg?";my own critique of ethnomusicology, proposalfor the constructionof an anthropologyof music as an extension of music theory, and exhortationto ethnomusicologiststo study the contemporaryWesternart music tradition in relationto its society with a view to some culturalengineering; and Fred Maus's article entitled "Recent Ideas and Activities of James K. Randall and Benjamin Boretz: A New SocialRole for Music,"whichsets this recentculturalhistoryin the contextof earlierphilosopherssuchas Tolstoy, Dewey, and Collingwood.Of course Adorno is eminent here; though he is translatedlittle and poorly, in general, there is at least a Germaneditionof his collectedworks. CliffordGeertz'srecentand influentialanthropologicalworksInterpretation of Culturesand Local Knowledge,Foucault'scollection of essays in social philosophy Power/Knowledge,and Stuart Schneiderman'sLacanian study of the death of an intellectualhero are generalstudies whichthe music theoristmay find of particularinterest. It strikesme that musictheoristsare of all scholarsmost passionatelyinvolved with the values of contemporaryart music, and might take a more active role in the future survivaland propagationof those values. Since their survivaldoes not entirely depend on intramusicalconsiderations,it could be help8Boretz,"Interface,Part 1" and "Interface,Part2." New ResearchParadigms 87 ful to open ourselves to a dialogue on the relationof this music to the relevantextramusicalfactors. The European tradition of semiology differs from the American tradition of semiotics in deriving its impetus less from the works of American logicians Morrisand Peirce, and more from the Coursde linguistiquegeneraleof Saussure.For Saussure, semiology was "a science which studies the life of signs at the heart of the life of society." This has imbuedmuch subsequentsemiology with a social-philosophicalor anthropological flavor, which in turn has made it particularlyattractive to ethnomusicologists.The major work applyingthis perspective to musicology in a systematic fashion has been JeanJacquesNattiez's Fondementsd'unesemiologiede la musique. If Fondements has been vigorously rejected by many anglophonemusic theorists-see, for example, the references in articlesby JonathanBernard (who is critical)and Jonathan Dunsby (who is friendly)-it has neverthelessbeen widely admired by and influential on other communities of musical scholars. How can we account for this? First, Nattiez writes well, so that those who read him in Frenchare impressed.Second, he has tackleda large andvital subject, and his discussions of the historyof semiology and the adaptationsnecessarywhen applying semiological models from other fields to music are among the most persuasiveparts of Fondements,if not always as coherent as one would wish-compare Nattiez's confusing discussionof the Peirciantriangleof sign, object, and interpretant, which is importantto Nattiez's work, with Peirce's own straightforwardexposition.9At any rate, Nattiez reaps the rewardsof dealing with an intellectuallyimportant,and fashionable, philosophical movement, a kind of endeavor which Americanmusicalscholarstend to avoid. On the other hand, just as many Americanscholarsare not well versed in continental philosophy and "musicology"(as they call music scholarshipover there), Nattiez is not a native 9Jean-JacquesNattiez, Fondementsd'une semiologie de la musique, 5657; CharlesPeirce, ThePhilosophicalWritingsof Peirce, 98-99. speaker within the language community of American music theory. The long bibliographyin Fondementscontainsone reference each to Babbittand Forte;token referencesto Schenker andBoretz appearfor the firsttime in the recent book Musicologie generaleet semiologie, describedby the author as a completely rewrittenversion of Fondements,which still omits any reference to other importanttheorists, such as David Lewin. Since Nattiez has not assimilatedour local canons and paradigms, Fondements often seems naive, beside the point, or wrong to us, though it is only fair to note that Musicologie generale et semiologie tries to address some of these weaknesses. But much of our technologyis bound up with analyses, and his analyses seem from this standpoint almost preindustrial.10However, the weaknesses of one application of semiologyto musicshouldnot blindus eitherto the strengthsof that applicationor to the meritsof semiology in general, when appliedso as to take advantageof relevantAmericantheoretical work. A second volume of Musicologie generale et semiologie is projected, which will focus on musical analyses and may address the above concerns more explicitly. Although the first volume of Musicologie generale et semiologie contains much more discussionrelated to American theory than did Fondements, its judgmentsare strange, treatingundergraduatetextbooks as though they were research and de-emphasizingthe periodical literature. In a discussion of "Meta-Variations," Nattiez's referenceshappen to be restrictedto the firstthirdof its firstchapter, in a readingthat has a poor perspectiveon the work as a whole. Nattiez seems in 1987still entirelyunawareof Boretz's later work, which bears a relation to "MetaVariations"similarto the relation of Wittgenstein'sInvestigationsto his Tractatus.On the same page, Nattiez placesBabbitt in "l'6colede Yale."1' Despite such symptoms of continuing intercognitivemalI?Seeentry for JonathanBernard. Nattiez, Musicologiegeneraleet semiologie, 208. 88 MusicTheorySpectrum aise, I remainoptimisticabout the possibilityof a fruitfuldialogue between Nattiez and American music theory. Nattiez himself maintainsa cordial, open-minded, nonpolemicalattitude towardthose who disagreewith him; if we can manage a similarattitude,we can perhapslearnfromone another.These aretwo musicologicalcultures,his andours. As CliffordGeertz remarksand exhorts, "We need, in the end, somethingrather more than local knowledge. We need a way of turningits varieties into commentariesone upon the other, the one lighting whatthe other darkens."12 In a book called L'aventuresemiologique, Roland Barthes describesthree stages in his development:first, the impact of Saussure,which led to Mythologies,describedby Nattiez as a kindof socialhermeneutic;second, systematicworkon the science of semiology, as in Elementsde semiologie;and third, the abandonmentof structuralmodels in favorof a playfulpractice on infinitely differentiatedtext, epitomized in S/Z.13Patrick McCrelesshas recentlytaken up S/Z explicitlyin the context of music theory. Barthes has a kind of offhand brilliance,and a preoccupationwith aesthetic matters-all of his work is motivated by pleasure, he avers. The doctrine of infinitetext is of particularinterest to us: as Iannis Xenakis remarks,"Musicis like a highly complex rock with ridges and designs engraved withinand without, that can be interpretedin a thousandways withouta singleone being the best or the most true."14And the Barthesianvaluing of the "writerly"(as againstthe mere consumerismof the "readerly")chimeswith David Lewin'srecent call for a more lively and poietic role for the music theorist: "... since 'music'is somethingyou do, and not just something you perceive (or understand),a theory of music cannot be developed fully from a theory of perception .... "15 Deconstructionismhas also fallen into an interestingdialec'Clifford Geertz, Interpretationof Cultures,233. 13RolandBarthes, L'Aventuresgmiologique,9-14. '4IannisXenakis, "Xenakison Xenakis," 32. '5DavidLewin, "MusicTheory, Phenomenology,"377. tic with Americanphilosophyoutside of its own Americantradition, as between JacquesDerridaand RichardRorty. Robert Snarrenberghas recentlymade a differancea la Derridain music theory. Fred Maus'spaper on "Musicas Narrative"points up some other intersectionswith literarycriticism.It would be interestingif furtherstudiesalongthese lines were to revivenotions of characterthat have been sleeping, hedged with thorn, since Florestanflourished,or at least, Tovey. The concernsof some theorists with metaphor, derivingproximatelyfrom the Boretz/Randall/Barkinparadigm, might also gain impetus from cross-fertilization,not only with Baroque and Classical music-theoreticaldoctrines, but also with technical works on metaphorsuch as Paul Ricoeur's,which explicatesin historical context, takingits departurefrom a close readingof Aristotle, the creativeand ubiquitousnatureof metaphor.16Whatthis all means is that attentionto the currentlively theoreticalactivity in literarycriticism,which is after all, like musictheory, about an art, may help to crystallizea paradigmin musictheorywhich will be a useful counterweightto the non-aestheticallyoriented influencesof other disciplinessuch as psychologyor even semiology. Phenomenologystartedas a twist on a Cartesianepistemological program for grounding judgment and knowledge.17 ThomasCliftonhas made currenta sense in which a "phenomenological"musicaldescriptionis an "intuitive"one, wherethe word "intuitive"takes on a sense relatedto but also foreign to the foundationalwork of Husserl, as noted by TaylorGreer.18 Clifton's"intuitive"analyses,whichhave theirown virtues,are close to Elaine Barkin'sin spirit, though couched in more orthodox language.In a sense, Cliftonis to phenomenologywhat 16Seeentries for Guck ("MusicalImages as MusicalThoughts"),Anthony Newcomb, and Paul Ricoeur (The Rule of Metaphor). 17Seeentries for FranzBrentano and EdmundHusserl (CartesianMeditations). 18Seeentries for Thomas Clifton ("Some Comparisons,"Musicas Heard) and TaylorGreer. New ResearchParadigms 89 Nattiez is to semiology. Cliftonhas been untilrecentlyvirtually the only American music theorist to have steeped himself in various phenomenological language-games and to have brought a perspective seriously derived from these to music theory. Shorn of polemics, it is a potentiallyfruitfultradition, and it is a pity that Thomas Clifton'sdeath deprivedthe musictheoreticalcommunityof his developing presence.19(Clifton's earlierarticleon Goethe's theory of plantsis an originalcontributionwhich also deserves more attention.) More recently, David Lewin has taken up the phenomenologicaltorch, as in his importantand substantialarticlein Music Perceptionhe valiantlyattemptsto marrymusic theory to phenomenology and psychology, or at least induce the three to cohabit. Furtherattemptsin this vein, whichwould be phenomenologically sensitive while not disdaining music theory's advances in formal methods, may effect a quiet revolution in the orientationof normalmusictheory. Richard Rorty, in his influentialbook Philosophy and the Mirrorof Nature,proposes, in the traditionof Wittgensteinand Quine, a new paradigmfor philosophy, one that moves the enterprise from epistemology to hermeneutics. According to Rorty, epistemology attemptsto constructa universalfoundation for rationaldiscourse,on the assumptionthat all contributions to such discourse will be "commensurable";hermeneutics acceptsthe alien qualityof another'sutterance,but tries to make sense of it. Episteme is the product of normal discourse-the sort of statementwhich can be agreed to be true by all participants whom the other participantscount as "rational."The product of abnormaldiscoursecan be anythingfrom nonsense to intellectualrevolution, and there is no disciplinewhich describesit, any more than there is a disciplinedevoted to the study of the unpredictable,or of "creativity."But herme19Seeentry for Clifton ("An Application"). neuticsis the study of an abnormaldiscoursefrom the point of view of some normal discourse-the attempt to make some sense of what is going on at a stage when we are still too unsure about it to describe it, and thereby to begin an epistemologicalaccountof it. The fact that hermeneuticsinevitablytakes some norm for grantedmakes it, so far forth, "Whiggish."But insofar as it proceeds nonreductivelyand in the hope of pickingup a new angle on things, it can transcend its own Whiggishness.20 I am tempted to construe the new emphasis on hermeneutics-Rorty in philosophy,Geertz in anthropologyas a closet rediscoveryof the values of an old-fashionedclassical education. In a classicaleducation, the student is led to respect the holistic, alien qualityof anotherculture,the meaning of whichbecomes availableto him throughhis constructingfor himself the semantic/syntacticweb of the languageof that culture, mediated as text. Earlier we have instanced several discourses all to some degree incommensurable with one another-normal Americanmusictheory, the Boretz/Randall/ Barkin paradigm, Nattiez, Barthes, and phenomenology, to which may certainly be added others such as the world of Heidegger. And we have tried to approacheach discourse in the hermeneutical spirit, to get the hang of it, allowing ourselves to enter its Schwartzchildradius,as it were, and escaping each holisticsphere, each singularity,only througha sort of extroversionthrough the dimension of our particularWhiggishness. Each piece of music is, arguably,at least as singular, as incommensurablewith other pieces, and as holistic, as is Classical culture, or as are any of these discourses. But it would be hard to argue againstvaluing theoretical approachesto music that preserve some sort of reverence for the individualityof each piece, of each discoursewithinmusicitself. 20RichardRorty, Philosophy and the Mirrorof Nature,320-321. 90 MusicTheorySpectrum BIBLIOGRAPHY A "{bib}"in an entry indicates that the item itself contains a usefulbibliography.Multipleentriesby the same authorare listed in chronologicalorderof publication. ACM ComputingSurveys 17/2 (1985). Special Issue on ComputerMusic. Adorno, Theodore. 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